Blade_Runner_and_Frankenstein

Oscar Wilde, like many other great writers and composers, was able to find a universal meaning from different contextual influences and ideas. The film Blade Runner, directed by Ridley Scott and the novel Frankenstein written by Mary Shelley are both significant, powerful texts that not only transcend time, but they are also able to present a grim view of the future where man’s attempts to conquer the secrets of life through science lead to destruction, devastation and obliteration. Visually, Blade Runner was revolutionary in the cinematic theatre, but more noteworthy was the main issues and concerns of the day, of the 1980’s, that he thought were dangerous to the wellbeing of society then... and today. Mary Shelley also probed the advances in science through her readings of Davey and Godwin, but more significantly, she was able to give many perspectives on the attitudes and beliefs of her society and thus provoked tension and thought. Ridley Scott’s film Blade Runner delivers a discerning outlook on the degradation and self destructive nature of humanity in a futuristic Los Angeles in 2019, where technological scientific advancement and consumerism have tainted morality and spirituality. Scott uses a panoramic, panning shot of a city in the opening scene to present to the audience a depiction of an abaddon or a living highly industrialised hell with darkness perpetuating the landscape. In contrast, a large neo-classical building that resembles that of a Mayan temple oversees the underbelly part of the city. The stylistic features of film-noir and crime-fiction are likewise evident throughout the film. The crude violence and dialogue, the pursuit to retire replicants by the experienced, but jaded detective in Deckard, and the strong presence of shadows, silhouettes and smoke throughout the film contrasts with the awesome and overwhelming power of science. Mary Shelley likewise warns us of the dangers of using science to usurp god, of breaking moral boundaries, through her depiction of Victor Frankenstein and his doppelganger, the creature through the gothic genre where she seems to critique romanticism. Disgusting, tainted, descriptions of the creature, of the wretch, illustrate the driven, demented, hideous nature of what man has created. His shrivelled complexion and straight black lips... breathless horror and disgust fill my heart. A combination of allusions and decaying, bleak, and brooding imagery reflect the attempts to give life to the dead in Shelley’s time through science, and thus serve as a grim view of mans attempt to conquer the secrets of life. In the first stages of Mary Shelley’s Frankenstein, an epistolary narrative is used to present Robert Walton’s perceptions of the story through letters to his sisters. In letter 4, he firsts sights the creature, but more significantly, he meets Victor. One man’s life or death were but a small price to pay for the acquirement of knowledge. Here, Shelley foreshadows the dangers of using scientific knowledge to usurp god, to desire more than we can handle. Scott also foresees a technological, science dominated world with an absence of nature from his time in 1982 where global corporations and pollution were of a serious concern. The recurring motif of the eyes and the hands symbolises vision, or lack of, and the tools used to create that vision that will end the detrimental consequences for society, and more importantly, the human condition. Tyrell’s myopic perception on creating life through science and evident arrogance is represented by Scott as the epitome of scientific exploitation and ethical degradation. Similarly, Victor fails to see his flaws and consequently he infects members of his family as the creature murders them. Have my murderous machinations deprived you also, my dearest Henry, of life' Ironically, in both texts, a world where a human creates life, a utopia is replaced with dystopia where destruction, discord and chaos occurs. The creature like Victor seeks redemption. But it is true that I’m a wretch. I have murdered the lovely and the helpless... the bitter sting of remorse will not cease to rankle in my wounds until death shall close them forever. Roy, in contrast, does not seek redemption for his sins, but rather seeks meaning and the chance to make a point, which is reflecting what Ridley Scott is attempting to do, that is, warning us of the dangers of exploring the unknown, and acting as god, playing with human nature. The final scenes depict a highly intellectual being that has developed pathos beyond our imagination in contrast to a dull, instinctive Deckard. The discordant sounds of Vangelis orchestral music accompany the perfect, harmonious poetic dialogue of Roy as he toys with Deckard. Quite an experience to live in fear isn’t it' That’s what its like being a slave. A face to face Close up shot of Roy and Deckard illustrates the strong emotions and contrast in power between the two, but Roy, in contrast to Deckard does not seek redemption, nor the emancipation of the soul. Roy’s calm and collective state and sheer power that he sheds over Deckard combined with the poetic dialogue he displays reveals his artistic understanding and passion in living. The question is asked in both texts: What is to be human' Roy’s life then ceases and he paradoxically displays individuality. Mary Shelley and Ridley Scott consider that it is in the human nature to consider the human condition, but at the same time, warn us of the dangers of using science as the ultimate knowledge in endeavouring to conquer secrets that life with holds from the human race. Blade Runner intended to be an entertaining, graphically awe-inspiring film of the time that depicted a future that answered the question, what if' Mary Shelley’s didactic novel Frankenstein was composed to voice her concern of rapid developments in science sparked by the industrial revolution, and like Scott, addressed the main issues and concerns of their day. Both composers are endeavouring to express a universal truth about humanity, its motivations and potential change to the world. Oscar Wilde once said, The truth is rarely pure and never simple. Though contextually separated by over 150 years, the alignment of their explorations demonstrates the timeless pertinence of such issues. Amidst social change, both Shelley and Scott demonstrate the consequences of shifting the tenuous balance between progress and morality. Clearly, humanity is indeed forged by mankind’s intrinsic morality and integrity.